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Education Resource Kit
The Fantastical Imaginings of
Tim Burton
Education Resources
CONTENTS
Acknowledgements........................................................................................................................ 4
Writers......................................................................................................................................... 4
Special thanks to ........................................................................................................................ 4
The fantastical imaginings of Tim Burton .....................................................................................5
Introducing Tim Burton ...............................................................................................................6
Surviving Burbank............................................................................................................................7
Discussion points.........................................................................................................................9
Mise-en-scene and German Expressionism ..............................................................................9
Formal elements of German Expressionist films......................................................................9
Key aspects of mise-en-scene ................................................................................................. 10
View Tim Burton’s short Vincent,.............................................................................................. 11
Discussion points: Vincent ......................................................................................................... 11
Task: Close analysis Vincent + mise-en-scène ........................................................................ 11
Task: Vincent + writing and recording rapping rhymes to Dr Seuss ....................................... 11
Task: Vincent + German Expressionism.................................................................................. 12
Frankenweenie .......................................................................................................................... 12
Discussion points: Frankenweenie ........................................................................................... 12
Task: Frankenweenie + photographing mise-en- scène........................................................ 13
Further research ........................................................................................................................ 13
The writer and the ‘Burtonesque' outsider .................................................................................. 14
Discussion points....................................................................................................................... 15
Tasks: ......................................................................................................................................... 15
Further investigations............................................................................................................... 16
Further research ........................................................................................................................ 16
Artistic collaborations in film.........................................................................................................17
The director and the actor: Johnny Depp.................................................................................. 18
Task: Character mapping ......................................................................................................... 18
Task: Close analysis and comparative study ........................................................................... 18
The director and the composer: Danny Elfman ..................................................................... 20
Discussion points...................................................................................................................... 20
Task: Sound design .................................................................................................................. 20
Task: Close analysis activity..................................................................................................... 20
Task: Close analysis activity – Corpse Bride ............................................................................. 21
The director and the production designers:............................................................................. 21
Symbolism and metaphor.........................................................................................................22
Discussion points.......................................................................................................................23
Task: Close analysis of production design ...............................................................................23
Task: Designing a 'Burtonesque' world and characters. .........................................................23
Further research ........................................................................................................................23
Task: Create a stop motion character and set....................................................................... 24
Further investigations.............................................................................................................. 24
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Exploring Tim Burton’s Artistic practice ......................................................................................25
Artistic explorations: analysis of Burton’s visual art works ...................................................25
Discussion points.......................................................................................................................25
Task: Visual analysis................................................................................................................. 26
Further investigations.............................................................................................................. 36
Quotes: ...................................................................................................................................... 36
Further research ....................................................................................................................... 36
CLOSE ANALYSIS...........................................................................................................................37
How to write a close analysis piece ..........................................................................................37
Narrative focus questions ........................................................................................................ 39
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ACKNOWLEDGEMENTS
Writer
Vyvyan Stranieri
Education Programmer
Australian Centre for the Moving Image
Vyvyan is an education programmer at the Australian Centre for the Moving Image. She is
responsible for developing and delivering creative media programs for students and young
people. Vyvyan has cinema studies and education degrees from La Trobe University; she is
currently studying visual art at the VCA. Her working life has merged diverse creative
pursuits with educational endeavours. Vyvyan is a huge Tim Burton fan and a lover of all
things – animation.
Special thanks to
Tim Burton
Derek Frey
Kate Warren
Brett McLennan
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THE FANTASTICAL IMAGININGS OF TIM BURTON
Tim Burton (American, b. 1958)
Untitled (Creature Series) 1980–1989.
Pen, ink, watercolour wash, and coloured pencil on paper
15 x 6" (38.1 x 15.2 cm)
Private collection
© 2010 Tim Burton
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Introducing Tim Burton
Tim Burton is a master auteur whose illustrious cinematic career has spanned diverse genres
and forms. He is also an artist, who is incessantly painting, photographing, drawing and
doodling, exploring his wildly unique imagination and forming its content into wondrous
cinematic worlds and characters.
An outsider growing up in Burbank, California, Burton went on to work as an apprenticed
animator at Disney, where he began his filmmaking career with the short film Vincent.
Throughout his career, Burton has always challenged the Hollywood formula and model to
develop and further his own voice, his own vision.
The Fantastical Imaginings of Tim Burton investigates Tim Burton’s enduring artistic
practice as a filmmaker/artist and the collaborative nature of this practice. This resource
references art movements within visual art history and the intersection of art with film
genre within cinema history.
This resource includes plates of Burton’s artwork with analysis of these works and a number
of Burton’s films. Extended investigations, research and activities are presented throughout
the resource.
We hope that you find your journey through the wild and magical landscape of Tim Burton’s
world inspiring and that this resource encourages you to get active making art and viewing
and reviewing the many diverse Burton films and visual art works.
The Fantastical Imaginings of Tim Burton is designed for lower to upper secondary school in
the areas of Media Art, Visual Art and English.
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SURVIVING BURBANK
Tim Burton (American, b. 1958)
Untitled (Ramone) 1980–1990
Pen, ink, marker, and coloured pencil on paper
11 x 9" (27.9 x 22.9 cm)
Private collection
© 2010 Tim Burton
Timothy Walter Burton was born August 25 in 1955. He grew up in Burbank, California, near
Hollywood. From a young age, Burton was mesmerized by popular culture and loved Sci-Fi
and Horror films, the extraordinary horror-genre actor the late, Vincent Price being a
particular influence and inspiration.
Burton studied at CalArts as an animator, and it was here Burton was noticed by Disney,
(CalArts being set up by Disney). He was selected as an apprentice animator working on
Disney films as an in-betweener, assistant animator and concept artist. Burton worked on
The Fox and The Hound (1981), and was a conceptual artist on The Black Cauldron (1985). But
the young Burton’s artistic sensibilities tended to clash with the conservative ‘house style’ of
Disney animations.
7
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Whilst at CalArts, Burton studied the works of Courbet, Goya and the post-impressionists,
Vincent Van Gogh being a favourite.
If I look at certain Van Gogh paintings, they’re not real, but they capture such an
energy that makes it real. – Tim Burton 1
Whilst Burton was at Disney, his talents were apparent and he was allowed the opportunity
to create his animated stop motion short, Vincent (1982) and the live action short horror
drama Frankenweenie (1984). Vincent was narrated by Burton’s childhood hero, Vincent
Price, and tells the story of a young boy who wants nothing more than to be just like Vincent
Price. Vincent quotes from Edgar Allan Poe and the production design is classic
‘Burtonesque’ gothic, reminiscent of German Expressionist cinema.
Frankenweenie pays homage to Mary Shelley’s Frankenstein but with a twist: having learnt
about electricity and anatomy, young Victor Frankenstein decides to bring his dead dog
back to life. Disney decided that it was not appropriate for young audiences and shelved the
film. It can now be seen on the DVD release of The Nightmare Before Christmas (as well as
Vincent).
Italian horror director Mario Bava, as well as horror actor Vincent Price and American horror
director Roger Corman are amongst Burton’s cinematic influences, as well as the actor
Barbara Steele who starred in Italian gothic horror films. Burton later paid homage to Steele
in Sleepy Hollow (1999).
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Discussion points
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Burton describes his working process as organic. What might he mean by this?
Explain.
What does homage mean? Can you think of an example of a homage? Discuss.
Why do you think that horror films have remained globally popular across literature
and cinema?
Do you have a favourite horror film? Discuss.
Mise-en-scène and German Expressionism
German Expressionism was an artistic movement (encompassing film, theatre,
painting, and other arts) that sought to give shape to psychological states through
highly stylised visuals. 2
In the horror film, the monster is a dangerous breach of nature, a violation of our
normal sense of what is possible.’3
In this section we explore the cinematic styles and genres which Vincent and Frankenweenie
reference. In Burton’s Vincent, we can identify art/cinema styles and genres such as
Symbolism, German Expressionist cinema and Expressionist Art. Whilst in Frankenweenie,
we can see stylistic connections to classic Hollywood horror films.
At the onset of World War 1, the German film industry was dominated by imported films on
German screens. To combat this competition the German government began to support the
film industry so that it could create its own propaganda films and also to ensure a German
film industry. The industry benefited greatly from this support, securing financing for state
of the art equipment and studios even in the face of global resistance as a consequence of
the First World War. A number of prominent German filmmakers left Germany to work and
make films in Hollywood in turn influencing the look and feel of horror in Hollywood.
Formal elements of German Expressionist films
According to Nancy West from the University of Missouri, Columbia, the formal elements of
German Expressionist film include, but are not limited to, the following:
• chiaroscuro lighting: lighting that employs extreme contrasts of light and dark, thus
creating dramatic shadows
• a preoccupation with mirrors, glass, and other reflective surfaces
• the use of anthropomorphism, which is the attribution of a human form, human
characteristics, or human behaviour to nonhuman things
• an interest in abstractionism, which is a style of art that privileges internal form over
pictorial representation.4
Quotes
‘Not surprisingly, the iconography of the horror film includes settings where monsters
might lurk.’5
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Expressionist filmmakers use ‘symbolism and mise-en-scène to insert mood and deeper
meanings into a movie’.6
Expressionist filmmakers use ‘set designs with wildly non-realistic, geometrically absurd
sets, along with designs painted on walls and floors to represent lights, shadows, and
objects’.7
Key aspects of mise-en-scène 8
According to Nancy West key aspects of mise-en-scène include, but are not limited to, the
following:
Decor
An important element of ‘putting in the scene’ is décor, the placement of objects and the
setting of a scene. Décor can be used to amplify character, emotion or the dominant mood of
a film.
Lighting
The intensity, direction and quality of lighting have a profound effect on the way an image is
perceived. Light affects the way colours are rendered, both in terms of hue and depth, and
can focus attention on particular elements of the composition.
Space
The representation of space affects the reading of a film. Depth, proximity, size and
proportions of the places and objects in a film can be manipulated through camera
placement and lens, lighting and décor, effectively determining mood or relationships
between elements in the diegetic world.
Costume
Costume simply refers to the clothes that characters wear. Using certain colours or designs,
costume is used in narrative cinema to signify characters or make clear distinctions between
characters.
Acting
There is enormous historical and cultural variation in performance styles in the cinema. Early
melodramatic styles, clearly indebted to the 19th century theatre, gave way in Western
cinema to a relatively naturalistic style.
Most important, all of the elements of mise-en-scène interact graphically to create
overall composition. Characters do not simply exist within a setting but rather form
visual elements that merge with the setting. --- Bordwell and Thompson 9
Expressionist films use simple lighting from the front and sides, illuminating the
scene flatly and evenly to stress the links between the figures and the décor. In some
notable cases, shadows are used to create additional distortion.--- Bordwell and
Thompson 10
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View Tim Burton’s short Vincent,
(Which you can find on the DVD extras of ‘A Nightmare Before Christmas’)
Discussion points: Vincent
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Why do you think that Vincent is shot in black and white?
Listen to the sound of the film. How is the atmosphere of Vincent created via the
sound design? Consider the sound effects and what they convey.
Focus on the look of the characters, particularly Vincent. Consider what meanings an
audience takes from his construction. Consider the shapes of his face and body, his
appearance and his gestures.
Why do we have a narrator and not character dialogue?
Listen to the rhythm of the verse and think about how the narration of the poem
relates to the actual on screen action. How would you describe the pace of the
narration? Explain.
Vincent was originally written as a children’s story in rhyming verse like Burton’s
childhood favourite writer Dr Seuss.
What do you think is the everlasting endurance of Dr Seuss’s books? Discuss.
Do you have a favourite Dr Seuss? Discuss.
Task: Close analysis Vincent + mise-en-scène
Freeze-framing a scene
For a clearer explanation and analysis of mise-en-scène, freeze-frame on a selected frame of
a scene and discuss the mise-en-scene and its relationship to the narrative.
Consider the following in your discussion and analysis:
• Lighting: how are shadows and patterns created to represent Expressionist
qualities?
• Framing: what is in the frame, what has been left out?
• Placement of objects within frame and why this is so.
• Setting/location: where are we?
• Where are the characters placed within the frame and why?
Task: Vincent + writing and recording rapping rhymes to Dr Seuss
Write a 5-8 line rap in the style of Dr Seuss about your favourite Burton film and or
character. Audio record this and assemble the class raps into a podcast. Consider the
following in your writing:
•
•
•
The audience who will hear the rap: how will you engage them?
The sound of your voice: intonation, timbre, pace, beats, rhythm of words selected
How what you will say and the way you say it will convey information about the
film/character.
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Task: Vincent + German Expressionism
Identify the German Expressionist qualities of Vincent in the table below and explain why
you think this is so.
GERMAN EXPRESSIONIST ELEMENT
EXAMPLE FROM VINCENT
ANALYSIS
Frankenweenie
Frankenweenie is based on an original idea of Burton. Lenny Ripp adapted the screenplay
form Burton’s story. Burton was 25 when he made Frankenweenie. Julie Hickson at Disney, a
supporter of Burton’s vision, produced the short film.
Frankenweenie is a re-working of James Whale’s Frankenstein (1931) adaptation and the
sequel The Bride of Frankenstein (1935). Shot in black and white, Frankenweenie references
not only popular horror films but the gothic writer Edgar Allan Poe and stylistically references
the cinematic genre of horror in its production design.
Discussion points: Frankenweenie
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Identify the themes of Frankenweenie and discuss how these themes are
established in the opening sequences, explored throughout the narrative and then
resolved in the conclusion.
What role do the neighbours play in progressing the themes and issues of the
narrative? Explain.
Identify who the two most oppositional characters are to Sparky and Victor’s
family and then discuss how they are developed in the narrative.
How is the mood of Frankenweenie conveyed? What production elements allow the
mood to be conveyed? Discuss.
When Victor is trying to re-animate Sparky why is it night-time and raining? What
effect does this create for an audience?
Could it be argued that Frankenweenie is a positive film about loyalty and love in the
face of community prejudice? Discuss.
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Task: Frankenweenie + photographing mise-en-scène
•
In a sequence of no more than 5 shots design a mise-en-scene sequence according
to German Expressionist film or Expressionist art elements.
Consider the following in your shoot:
• Lighting
• Shading
• Patterns
• Lines
• Shapes
• Props and or figures
• Position of props and or figures
• Setting
Further research
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Research the following writers/illustrators (listed below) who have influenced
Burton and provided inspiration for his own art practice.
Identify similarities and differences, by comparing and contrasting one of Burton’s
films or art pieces to a piece from each of these writers/illustrators.
Also consider why their writings and artworks seem to have captured the
imagination of so many Hollywood filmmakers who have adapted their stories to the
screen.
o Maurice Sendak
o Charles Addams
o Edward Gorey
o Dr Seuss
o Edgar Allan Poe
Consider why Van Gogh may have captured Burton’s imagination.
Research the artwork of Vincent Van Gogh and consider whether you see
connections between Van Gogh’s work and Burton’s visual art and his films.
Research the art works of Courbet and Goya and consider their influence on modern
art.
Look at selected works of theirs and consider the subject matter of the pieces and
the stories they tell.
Look at the place of these artists in the history of art and their influence on the
modernist art to come.
Research the films of German Expressionism and if possible look at Nosferatu (F.W.
Murnau,1922) and Das Kabinett des Dr. Caligari (Robert Wiene,1920). Compare these
to Hollywood horror gothic classics: Dracula (Tod Browning, 1931), Frankenstein,
(James Whale, 1931), and The Bride of Frankenstein (Whale, 1935).
Do a comparative study of Vincent and Frankenweenie to the films above. Consider
differences and similarities and identify the stylistic connections between Burton’s
early shorts and the films you have chosen to view.
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THE WRITER AND THE ‘BURTONESQUE
OUTSIDER’
Tim Burton (American, b. 1958)
Untitled (The Melancholy Death of Oyster Boy and Other Stories) 1998
Pen, ink and watercolour on paper
11 x 14" (27.9 x 35.6 cm)
Private collection
© 2010 Tim Burton
Tim Burton’s characters and narratives often represent the ‘outsider’, the misunderstood,
the lonely, and the rejected. Burton explores themes of the individual feeling outside yet
looking in so wonderfully, Burton expresses pathos and understanding of his ‘outsiders’
these beautifully conceived characters and he respectfully cherishes them.
Besides being a prolific film director and visual artist, Burton also writes. Vincent and The
Nightmare Before Christmas were both originally written as poems. Stain Boy, like Edward
Scissorhands was initially conceived and inspired from a sketch, Burton had drawn.
His collection of short stories, The Melancholy Death of Oyster Boy and Other Stories, once
again combines his exquisite artworks with his equally exquisite written prose. Even in these
short stories, we have the enduring recurring motifs, both visually and thematically, of the
‘outsider’ and the ‘misunderstood’. These characters are integral to the emotional depth
that is a signature of Burton’s films and part of their enduring and wide-ranging appeal.
Stain Boy is a six-part web series about Stain Boy, ‘a biohazard superhero’. Burton first
introduced Stain Boy in his book, The Melancholy Death of Oyster Boy and Other Stories. This
series of flash-based animations was created specifically for the web and animated by Flinch
Studios in 2000. In each episode, Stain Boy, working for the Burbank police, (who else!),
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investigates and is asked to apprehend ‘social outcasts’ -- characters who exist in the other
poems and stories of The Melancholy Death of Oyster Boy and Other Stories, such as ‘Staring
Girl’. Each episode is 5 minutes or less.
Burton’s storytelling is characterised ‘chiefly through striking visuals and indelible
characters who personify the themes that recur and reverberate throughout all of his
works – primarily the isolation of being disconnected from the world at large and the
search for true identity. --- Jenny He 11
Discussion points
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Why might Burton have decided to create Stain Boy for the web and for free?
Do you think that it is important that artists and filmmakers create free work for the
web? Discuss.
What role do you think that the web should have in terms of the visual arts and
moving image making arts?
Do you have a favourite website or favourite animation site that you regularly visit?
Discuss.
Should the web be open and uncensored for the arts community? Discuss.
Where do watch or obtain most of your moving image viewing? Discuss.
Tasks:
Viewing Stain Boy
You can watch Stain Boy episodes at
http://www.timburtoncollective.com/multimedia.html
When watching Stain Boy consider the following:
•
•
•
Stain Boy is animated in flash for the web; do you think that this style of animation
works best for the ideas and story of Stain Boy? Discuss.
Consider if Stain Boy was animated as stop motion in clay or using puppets, would
that work with this type of storytelling? Discuss.
Compare and contrast the Melancholy Death of Oyster Boy and Other Stories with
Stain Boy the animation. What differences and similarities did you notice? When you
read the prose of the characters in the book, think about how the look and feel of the
original prose is interpreted and conveyed from the literary to the moving image
animation.
Reading The Melancholy Death of Oyster Boy and Other Stories
Read Burton’s magical collection of short stories The Melancholy Death of Oyster Boy and
Other Stories, choose your favourite story and visually interpret the story as either a short
stop motion animation or a non-narrative visual poem.
Screen adaptations and short story writing
Write a short story of no more than 500-800 words on one of the following themes:
• The outsider
• The strange
• The feared
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•
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The romantic
The dreamer
The misfit
The quiet one
The one who struggles
Reading and writing Dr Seuss and Roald Dahl
Read either The Lorax by Dr Seuss or The BFG by Roald Dahl and write a screen adaptation.
Consider the following:
• What will your interpretation of the original story be? Why?
• How will you decide what remains from the original and what will be omitted and
why?
• Will the adaptation be for a fiction or non-fiction moving image piece?
• What genre will the piece be?
• Will you use animation or live action, in which case will it be a documentary, drama,
non-narrative piece and advertisement or a music video clip?
• What themes/issues from the original stories will you choose to convey and how?
• Who are the characters?
• Where is it set?
• In what time period will it be set?
Further investigations
•
•
View the DVD extras on Charlie and the Chocolate Factory and take a look at the mini
documentary on Roald Dahl called ‘Fantastic Mr Dahl’.
Travel through Flinch Studios’ website to view more amazing animations from the
studio that animated Stain Boy, and where you can also view Stain Boy episodes:
http://www.flinch.com/flash.html
Further research
General animation
http://www.acmi.net.au/animators.htm
Writing for animation
http://www.jeffreyscott.tv/
http://johnkstuff.blogspot.com/2007/03/writing-for-animation-keep-it-simple.html
Children’s literature
http://en.wikipedia.org/wiki/Children's_literature
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ARTISTIC COLLABORATIONS IN FILM
Tim Burton often works with the same creative team; this ensures that his aesthetic is
uncompromised. Frequent collaborators include film composer Danny Elfman, costume
designer Colleen Atwood, animation character creators McKinnon and Saunders and
production designer Bo Welch, among others. Burton and his highly creative team work
collaboratively in a trusting and connected artistic relationship. In this section we explore just
some of these relationships.
Burton likes to work organically, his ideas are released through his sketches rather than in
extensive storyboarding. By working intuitively, Burton has said that he sees recurring
themes and images throughout his works. ‘It starts with a very good foundation and then
kind of goes free.’ 12
Tim Burton (American, b. 1958)
Untitled (Boy Series) 1980–1990
Pen, ink, marker and watercolour on paper
10 x 14" (25.4 x 35.6 cm)
Private collection
© 2010 Tim Burton
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The director and the actor: Johnny Depp
I feel a strong connection with Tim and trust him completely. It’s amazing to be
invited into his world. – Johnny Depp13
Burton and Depp have worked together on numerous films and have developed a strong,
trusting working relationship and friendship, which helps ensure a continuing successful
screen partnership. The relationship between the actor and the director can be a tenuous
one, often due to conflicting egos and the privilege of individual rather than collective
visions. But this is not the case with Burton and Depp.
It was fortuitous that Depp was given the role of Edward Scissorhands, as the ongoing
collaboration between the two has produced some memorable screen performances.
Story elements
Many of Burton’s characters are specific archetypes that Burton has developed and
cultivated over the years, and that help to define his personal vision. Two significant
recurring archetypes are the flawed father and the misunderstood outcast.– Jenny
He14
Characters are one of the main strengths of Tim Burton’s films. How would you approach a
character study of Burton’s long filmography?
Task: Character mapping
One approach might be to do a character mapping exercise. Take one of Burton’s films in
which Depp is the main protagonist and write the following character map:
• Character’s name
• Description of appearance, costume, physical attributes, suggests what about them?
• Sound of voice (tone, infliction, and timbre) suggests what about them?
• Their role in overall storyline.
• Description of personal traits.
• Description of their motivations, fears, desires.
• Relationship to other characters.
• What effects has their behaviour had?
Task: Close analysis and comparative study
Compare and contrast two films from the following in which Depp is the main protagonist.
Charlie and the Chocolate Factory with Edward Scissorhands or Sleepy Hollow, using the
information table as a guide.
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TITLE OF FILM
CHARACTER
ELEMENT
SCENE/SEQUENCE
DESCRIPTION OF ELEMENT
EXAMPLE
Tim Burton (American, b. 1958)
Untitled (Clown Series) 1993.
Oil on canvas
12 x 9" (30.5 x 22.9 cm)
Private collection
© 2010 Tim Burton
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The director and the composer: Danny Elfman
Long-time collaborator Elfman was originally a member of LA performance art musicians,
Oingo Boingo, whom Burton would go and hear regularly. The two became friends and began
working together, Pee Wee Herman’s Big Adventure being the first time the two
collaborated.
Discussion points
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Burton has said that music is always important but that in Pee Wee Herman’s Big
Adventure, the music was like a character.
How can music be a character? Think of an example in which music you have heard
sounds like it is a character and discuss.
In Batman, Burton faced studio pressures in terms of the sound design. The
soundtrack had to include popular songs of the time, alongside the dark moody
orchestral score of Elfman.
Burton has said that using Prince’s songs in the soundtrack of Batman “didn’t work
very well. The songs bring it too much into a specific time frame”.15
Do you agree that using current popular songs in a film sets the time period too
narrowly? Explain.
Sound design consists of four inter-relating components: atmosphere, sound
effects, music and dialogue.
When viewing a selected Burton film, listen carefully and think about how these four
inter-relating components in the narrative come together to create the whole of the
sound design. Looking at selected sequences explore how the sound design evokes
emotions and engages our senses aurally in conjunction with the visual design.
Task: Sound design
•
•
•
For discussing the importance of sound design try the volume on and off during
selected sequences. Discuss the effects of the sound on and off and what the
differences create.
Choose a sequence from a Burton film and sit with your backs to the on screen
action, turn the volume on and imagine what you see via what you hear. Concentrate
on the mood/atmosphere, the effect of the sounds heard and how the sound plays
out a series of actions and narrative even though imagery is not seen. Now, try the
same thing with the picture – that is, watch the screen but turn off the sound. The
storyline becomes much more difficult to follow.
Discuss how the sound design creates meaning for an audience, its relationship to
the narrative structure in terms of character motivation, character identification,
narrative action/events and the thematic considerations of the narrative.
Task: Close analysis activity
Pee Wee Herman’s Big Adventure
The opening sequence to Pee Wee Herman’s Big Adventure, cleverly illustrates Burton’s idea
that the music in this film became another character. (This sequence begins with the titles
and ends when Pee Wee Herman locks the door to his house which is seen in wide shot.)
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•
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Watch the title and opening sequence and consider whether the sound or the
imagery of the titles is privileged. Explain why you think this is and how it is
achieved.
In the opening sequence of the dreamscape, what mood does the music establish
and how does it work with the on-screen action and the accompanying sound
effects. Explain.
Once we see Pee Wee wake up and begin his daily routine, how does the interrelationship between sound effects, dialogue and mood establish the character of
Pee Wee?
Listen to the actual sounds and identify which sounds you hear. Listen for the
rhythm and pace of these sounds, the music and sound effects. Listen for the low
and highs, the soft and loud, the beats and crescendos. What happens at these
various points and how does it establish not only the character of Pee Wee but the
introduction to the story?
Task: Close analysis activity – Corpse Bride
Explore the DVD extras on Corpse Bride and view the feature on Danny Elfman discussing the
musical score for the film. In this interview, Elfman discusses Victor’s piano piece and how
this piece of music became the signature musical number to identify with Victor and lent the
emotional resonance for not only Victor but also the love triangle between Victor, Victoria
and the Corpse Bride.
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Listen to the musical score of Victor’s piano playing. What does this music suggest
about Victor?
How would you describe the emotion of this musical score?
View the sequence in which Victor and his family arrive at Victoria’s house to begin
the arranged marriage preparations. The sequence begins with Victor and his
parents arriving at the house of Victoria and ends with a fade to black and the onscreen title – ‘three hours later’.
When viewing this sequence identify how the camera frames Victor, as he plays
piano. Look at the mise-en-scene of this scene and explain how the emotionality of
the sequence is established and explored via the acting of Victor and Victoria and the
placement of their characters within the frame.
Identify the camera angles and camera movements in this sequence and explain how
the characters’ personalities and the romance between them is conveyed and
suggested by the angles and movements of the camera.
Do the music and the camera come together in synchronicity at any point? Explain.
The director and the production designers:
Colleen Atwood costume designer & Bo Welch production designer.
Atwood and Welch have collaborated with Burton on many of his films. They have
contributed signature costume and production designs, which have supported and conveyed
the artistic vision of Burton. The worlds and the characters imagined by Burton and
interpreted by these talented designers have lent the visual palette and emotional
resonance of films such as Edward Scissorhands and Big Fish.
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Costumes and production lend themselves to a study of symbolism and metaphor.
Emotional range and unspoken understandings are conveyed through the colour palette and
tonal range of on-screen worlds as well as through costumes.
Symbolism and metaphor
Symbolism: when something concrete stands for a larger and more abstract idea (i.e. a dead
flower may symbolise mortality) or the attribution of symbolic meaning or character to
something.
Metaphor: a figure of speech in which a word or phrase is applied to an object or action which
it does not literally denote in order to imply a resemblance (eg the ‘ship of the desert’
referring to a camel).
In film, symbolism and metaphor are represented throughout the overall story of the
narratives and through production design; we come to interpret and understand through the
signs of the images and sounds. We use the tools of semiotics and the codes and
conventions of the moving image to deconstruct meanings created for us. In our culture it is
assumed (and here we are now aligning our own culture in part, with that of the USA, insofar
as both cultures are representative of Western culture) that we share cultural signs and may
make meaning from those signs and what they signify.
Put simply, think of a recent advertisement (print or electronic) which you’ve seen or heard
and try to remember how you came to understand its meaning. What visual or aural signs
did you read? What did these signify? Think of the ad in terms of denotation and
connotation. Denotation is what the sign depicts and connotation is what we bring to the
sign, how we interpret it.
When we look at Tim Burton’s films, we see that the colour and tonal range of the
production design are important in conveying a sense of emotionality as well as thematically
allowing the narrative and characters to progress.
Lighting, colour and shapes symbolically work to metaphorically convey the themes and
ideas of the film via the production design. Film is a visual medium and Burton and his team
clearly and imaginatively utilise the broad spectrum of the medium to progress the story via
the design of the film.
Here are some good examples of this process:
• Big Fish – uses monochrome and colour in the flashbacks of Bloom’s past to the
present. Look at how the past and present are separated by the use of monochrome
and colour. Consider what this conveys.
• Corpse Bride – the land of the living and the land of the dead are contrasted by the
use of vibrant colours and muted tones. Look at how the two worlds are contrasted
and consider what this conveys.
• Charlie and the Chocolate Factory – similar to Corpse Bride, as we see the use of
hues, muted tones and vibrant colours contrasted in the world of Charlie and the
world of the factory. Look at how the two worlds are contrasted and consider what
this conveys.
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•
Edward Scissorhands – uses pastel colours in suburbia whilst Edward’s castle is a
mixture of dark and earthy tones, yet this juxtaposition creates an important
element in shaping the themes of the film. Look at how the two worlds are
contrasted and consider what this conveys.
Discussion points
I remember growing up and feeling that there is not a lot of room for acceptance. You
are taught at a very early age to conform to certain things. – Tim Burton 16
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What does conformity mean? Discuss an example.
Are there consequences for not conforming in society? Explain.
Can non-conformity be positive? Discuss.
Think of who may be considered a non-conformist from a historical perspective and
discuss how this might have contributed to either positive or negative social change.
In our society who are considered the outsiders? Why? Discuss.
Have you ever felt the outsider? Explain.
Discuss what words are associated with feelings of being the outsider?
What colours may be associated with feelings of being the outsider? Explain.
Task: Close analysis of production design
Big Fish, Edward Scissorhands, Corpse Bride, Charlie and the Chocolate Factory
As with most of Burton’s visual work, his films also symbolically use colour and tonal range
to convey themes and explore character.
Task: Designing a ‘Burtonesque’ world and characters.
Every time I do anything I start with the character.– Tim Burton 17
Either via sketches, a series of photographic stills, a mixed media collage, puppets or
modelling clay, design and create an ‘outsider’ character and the world s/he inhabits.
Think about the following:
• The look and feel of the character: their clothing, gestures, accessories, personality,
actions, characteristics, gender, age.
• The world: objects, the landscape, interior or exterior worlds, natural or synthetic.
• The colour palette and tonal range of the world and the character.
• What does this convey about your character and their world?
• A time period: historical, contemporary, futuristic.
• Lighting: is it natural, artificial, bright or dim? Why are you lighting this world in this
way?
Further research
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Research symbolism in art and the cinema; identify works of art and films that
clearly convey this concept.
Find out more about Mackinnon & Saunders, designers & builders of animation
puppets.
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Task: Create a stop motion character and set
There’s an energy with stop-motion that you can’t even describe. It is to do with
giving things life. - Tim Burton18
Create a short 30-60 second stop motion animation. Develop a short story based on the
characters and world you designed in the earlier task and turn those ideas into a stop motion
animation
• How will you make your animation? What equipment will you need?
• What frame rates will you use to create fluidity and movement, in a way that is
believable to your audience? (There are many sites on line which can assist you with
this, in the section on further investigations there are some references)
• What would it look like?
• What materials will you use?
• How will you light it?
Consider the following:
• Colour palette and tonal range of your set
• Shadows created by lighting
• Shapes and lines in your sets and mise-en-scene
• Patterns and repetition in your design
Further investigations
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View the DVD extras on Corpse Bride and watch Mackinnon & Saunders discuss their
working collaboration with Burton and the process of working on Corpse Bride.
An excellent resource for exploring how to create stop motion animations:
http://www.wikihow.com/Create-a-Stop-Motion-Animation
Explore Mackinnon & Saunders website – http://www.mackinnonandsaunders.com
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EXPLORING TIM BURTON’S ARTISTIC PRACTICE
I occupied my time going to see monster movies, watching television, drawing and
playing in the local cemetery. --- Tim Burton 19
How we respond and engage with art is subjective and individual. Artworks inspire,
challenge, and stimulate our senses and our feelings. We observe the content of the artwork
before us, but it is the sensation of experiencing the artwork that triggers ideas, thoughts
and emotions in us, which ultimately draws us in and leaves a lasting impression.
As we explore the diversity of Tim Burton’s films and his visual art works, consider not only
the content of the works but their look and feel. Consider most importantly, how they make
you feel, what they allow you to see/hear and how that engagement allows for a sensory
experience.
Burton is an incessant sketcher, doodler and drawer who has not only achieved a long and
illustrious film career but has produced a body of drawings, paintings and photography. In
this section we analyse and respond to his many visual art works.
Artistic explorations: analysis of Burton’s visual art works
In this section we explore and engage with the visual art created by Tim Burton. There are
diverse visual examples and tasks, which look at the ways that Burton generates his ideas,
how his ideas are realised and how viewers respond to his ideas and art.
Discussion points
When looking at the art works consider and explore the following points below.
Consider the following:
• Subject matter
• What is happening? Where? To whom? When?
• Technique
• What materials are used? How? Why?
• Form and design elements
• Line, colour, tone or shading, shape, texture, mass, volume, space
o Form and principles of design:
• Unity, balance, harmony, contrast, repetition, scale, focal point, lighting,
organisation of composition
• Composition and design elements:
• Line and shape, straight lines, curved lines, colour, rule of thirds, space
• Expression
• In other words, the expressiveness of the subject matter.
o Think about what the purpose may be: to inform, to challenge, to educate,
to shock, to suggest.
o How does the work address the viewer: directly, indirectly, via an emotional
representation such as anger, happiness, torment, etc.?
o How is this expressed: is the work whimsical, assertive, timid, reflective,
daring, humorous, and confusing?
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•
Style can be interpreted in various contexts:
o A personal style; which may be the mark of the artist with recurring motifs,
ideas, shapes, colours, subject matter, technique.
o A historical style, which represents a style of working identifiable with a
certain time, fashion, beliefs, and interests of a particular community.
o A cultural or sub-cultural style such as belonging to or representing
particular cultural and sub-cultural identities, customs, mores, of a class,
race, gender, social group.
He is attached to the playful aesthetics of drawing and animation, and to tools
associated with childhood, such as crayons and coloured pencils, because they connect
him with pleasures of the imagination that he learned to value in adolescence and
continue to inform his work as an adult. --- Ron Magliozzi 20
Task: Visual analysis
Each of the following artworks adopts a differing materiality and technique yet each
represents a uniquely Burton style. When you look at each piece consider not only the
subject matter but also the materials used and the techniques adopted.
Make notes when looking at the pieces following the initial discussion points above.
Firstly take a look at the image and jot down some points of your initial response. Don’t
think about it too long, just respond. Then look at the focus points and make notes.
Consider how the formal analysis and your initial gut response may differ or be similar. How
does a formal analysis inform a response? Does it alter the initial response or add to the
engagement of that initial response? Explain.
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Paintings
TIM BURTON (American, born 1958)
Blue Girl with Wine, c. 1997
Oil on canvas
71.1 x 55.9 cm
Private Collection
© 2010 Tim Burton
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What is striking about this painting? Explain.
Looking at the composition of this painting consider how line and shape and space
work together to create balance and harmony.
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TIM BURTON (American, born 1958)
Untitled (Creature Series Drawing), 1992
Acrylic on canvas
17.8 x 12.7 cm
Private Collection
© 2010 Tim Burton
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This painting is lit in a room black light in order to bring out the fluorescent colours
applied to the acrylics on the canvas.
How does this lighting affect the colours, shapes and line of this painting? Explain.
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Installation shot of Tim Burton the Exhibition at ACMI, showing the lighting and installation
of the black light effect, in the black light room.
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TIM BURTON (American, born 1958)
The Green Man, 1996-1998
Oil and acrylic on canvas
25.4 x 20.3 cm
Private Collection
© 2010 Tim Burton
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Consider the combination of oils and acrylics on canvas, what effect does this
create?
Again Burton’s work is characterised by his use of shapes and lines; how do these
work to create a balanced composition? Explain.
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Drawings
TIM BURTON (American, born 1958)
Untitled (Romeo and Juliet), 1981-1984
Pen and ink on paper
30.5 x 40.6 cm
Private Collection
© 2010 Tim Burton
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How would you describe the expressiveness of this drawing? Explain.
How do line, colour, tone and shading, contribute to the expressiveness of this work?
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TIM BURTON (American, born 1958)
Untitled (Creature Series), 1997-1998
Pastel on paper
35.6 x 27.9 cm
Private Collection
© 2010 Tim Burton
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How is movement conveyed in this painting?
How does the choice of materials affect the emotive quality of this work?
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Photography
TIM BURTON (American, born 1958)
Untitled (Seahorses on Pink Tree), 1992-1999
Polaroid
83.8 x 55.9 cm
Private Collection
© 2010 Tim Burton
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Burton works with a large format Polaroid camera to create his images.
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What is happening in this piece do you think? Explain.
Consider the composition and design elements of:
line and shape
o straight lines
o curved lines
o colour
o rule of thirds
o space
How do these design elements contribute to the overall composition?
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TIM BURTON (American, born 1958)
Untitled (Blue Girl with Skull), 1992-1999
Polaroid
83.8 x 55.9 cm
Private Collection
© 2010 Tim Burton
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How is the expressiveness of the subject matter conveyed? Explain.
What cultural and sub-cultural styles such as belonging to or representing particular
cultural and sub-cultural identities, customs, mores, of a class, race, gender, social
group, might this image represent? Explain.
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Further investigations
Quotes:
Discuss the following quotes with reference to Burton’s art works.
Examining his visual shorthand of pointed and rounded faces and bodies, it becomes
clear that Burton’s triangles and circles stand for trouble and loss. --- Ron Magliozzi21
For Tim Burton drawing is exercise for a restless imagination. --- Ron Magliozzi 22
Choose a Tim Burton film from the following list and use the techniques of visual analysis to
consider the look and feel of his production design.
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Beetlejuice (M)
Pee Wee Herman’s Big Adventure (PG)
Charlie and the Chocolate Factory (PG)
Edward Scissorhands (PG)
Big Fish (PG)
Batman (PG)
Alice in Wonderland (PG)
Sleepy Hollow (MA 15+)
Look at the opening and closing sequences of the film and make notes with direct examples
on the following:
• Style
• Expression
• Form and design elements:
• Line, colour, tone or shading, shape, texture, mass, volume, space
• Form and principals of design:
• Unity, balance, harmony, contrast, repetition, scale, focal point, lighting,
organisation of composition.
• Composition and design elements:
• Line and shape, straight lines, curved lines, colour, rule of thirds, space.
Further research
Research the production process of a film and make notes with visual accompaniments of
how the production design of a film contributes to the overall visual look and feel of a film
production:
• What is production design?
• What roles and stages are involved in design?
• How does the production designer work with the director of the film to realise the
vision?
• What process is undertaken during the course of the production process?
• Look at a sequence from the film under research and its production design. Compare
and contrast the final look and feel of the films in terms of their production design.
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CLOSE ANALYSIS
Choose a Tim Burton film (maybe one of his shorts or features)
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Write either a short answer response (300–500 words) or an extended response
(500–750 words).
Adopt a close analysis approach. This is when you re-watch the selected sequences
several times and focus on specifics in detail. Choose 2–3 sequences to analyse, and
re-watch these several times.
Use direct examples to illustrate your analysis (you may draw, use flow charts,
concept maps etc).
Be coherent and direct.
Concentrate on the following story and production elements and attempt to draw
connections between the elements:
How to write a close analysis piece
Fill in the table below with direct examples form chosen sequences of a Burton film.
Production Elements
ELEMENT
Sound Design
SCENE/SEQUENCE
DESCRIPTION OF ELEMENT
EXAMPLE
Editing (pace &
rhythm)
Mise-en-scene
Camera Placement
(shots, angles,
movement)
Special Effects
Lighting
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Story elements
ELEMENT
Character/s
SCENE/SEQUENCE
DESCRIPTION OF ELEMENT
EXAMPLE
Themes/Issues
Setting
Structure of time
Cause and effect
Point of view
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KEEPING A LOGBOOK
Narrative focus questions
STORY ELEMENTS
Character
• How and why are characters established and developed in the way they are?
• How is character believability achieved?
• How is character empathy and identification achieved?
• Look at the way characters are introduced in the credit sequences.
• Look at what they say, what they do, what others say about them.
• Focus on:
o placement within the frame (how the camera shoots them, angles etc),
o visual presentation,
o make-up and dress (i.e. costuming, physical body, tattoos etc),
o tone of voice, specific dialogue, use of slang or street language etc.
• Look also at the relationships between characters, the role or function of characters
in the narrative, type and range of characters, and similarities and differences
between characters.
Setting
• How does the setting relate to the narrative? In other words, why has a background,
location or set for a particular scene/sequence been chosen?
• Are any of the props significant?
• How do the mood and ambience of the setting create meanings for an audience?
• Discuss the function of the regular and familiar setting/locations for the series.
What meanings do these create? What emotional or intellectual effect do they have
on audiences?
Structuring of time
Look at the way narrative manipulates time. How are events ordered?
• For instance, are events chronological or is there use of flashback or flash forward?
• Look at duration of events, for example the expansion or contraction of time.
• How frequently are events or scenes shown in comparison with their presumed
occurrence and existence?
Point of view (POV) from which the narrative is presented
• From whose POV is the narrative presented?
• Do we see it through one character’s eyes or more than one? Why? What are the
effects of this?
• Is the POV other than that of the characters? To what effect?
• What story information is given or withheld at different points in the narrative?
• What effect does this have? How is POV technically communicated to an audience?
Themes and issues
• What themes and issues are introduced and how are they developed and explored?
• Are certain themes and issues exclusively related to particular characters? How do
the themes and issues work in with the storyline?
Cause and effect
• What motivates the characters?
• What events are motivated by character?
• If there are natural or supernatural causes, what are their consequences?
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Opening and closure
• Look at the extent to which the conflicts, motivations and issues are resolved or
unresolved by the end of the film.
• What expectations are established in the beginning and resolved or remain
unresolved at the end?
• How are character developments, themes/issues and resolutions dealt with in the
closing sequences?
PRODUCTION ELEMENTS
Camera work
• Angle (high, low, eye level, aerial) and movement of shots (shot reverse shot,
panning, tracking, tilting).
• Distance of shots (i.e. close-up, mid shots, long shots and extremes of this), shot
size and camera movement.
• Duration of shot on screen: what impact/effect does the concentration of the length
of a shot have on the audience?
• What meaning is created for an audience by using different shot sizes, movement
and camera angles?
• How does the camerawork inform the audience about a character’s motivation,
create an identification with characters and communicate their relationship to the
story?
• How is an audience’s engagement with the narrative created by the choice of
camerawork?
Lighting
• Is the lighting natural/artificial, realistic or expressive. How does it set a mood or
create an atmosphere?
• Why and how effective is this?
• Are any lighting effects used, for example, to emphasis an object, a character or an
action? Explain.
Mise-en-scene
• The way each shot is composed within the frame has an effect on the way we
respond to the narrative. Composition relates to the production elements and story
elements.
• Look at how the following aspects of composition are arranged in particular scenes
or in a sequence:
o Setting and set design
o Costumes and objects
o Colours
o Arrangement and movement within the frame
o Spatial relations between objects and characters (spacing)
o Framing: how is the shot framed, that is how is it positioned within the
square of the frame?
Editing
• How do the placement, timing, and rhythm of the editing affect the mood of a
sequence and of the overall film?
• How do the shots relate to each other visually and aurally – image to image, sound
to sound, image to sound?
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Sound
• Look at the music, sound effects (including atmospheric sound) and the way the
dialogue is recorded.
• How does the soundtrack relate to the storylines, themes and issues of the
narrative, characters and plot? Focus on both diegetic and non-diegetic sound.
• How do the layers (atmosphere, dialogue, sound effects and music) work together to
create the sound design?
• Are there any special or unconventional applications and explorations of sound
design? Explain.
Acting/Performance
• How does the actor’s performance contribute to the characterisation?
• Does the actor bring associations from outside the narrative to the character?
• What effect does this create in terms of character believability/acceptance?
• Does an audience have empathy for the characters? How is this achieved?
• Are there characters who repel the audience? Why?
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1 In Salisbury, Mark (ed.), Burton on Burton, Faber and Faber, London, 2006, p. 175.
2 West, Nancy, Introduction to Film, Lecture Four: German Expressionism’, University of Missouri –Columbia, 13
September, 2005, http://web.missouri.edu/~westn/courses/film1/handouts/09.13-lecture.html
3 David Bordwell and Kristin Thomson, Film Art, McGraw-Hill, New York, 2008, p. 330.
4 West.
5 Bordwell and Thompson, p. 330
.
6 West.
7 West.
8
West
9 Bordwell and Thompson, p. 448.
10 Bordwell and Thomson, p. 113.
11 He, Jenny, ‘An auteur for all ages,’ in Magliozzi, Ron, He, Jenny and Warren, Kate, Tim Burton: The Catalogue,
ACMI, Melbourne, 2010, p. 17.
12 In Salisbury (ed.), 2006,p. 47.
13 He, p. 22.
14 He, p. 21.
15 In Salisbury (ed.), 2006, p. 81.
16 In Salisbury (ed.), 2006, p. 87.
17 In Salisbury (ed.), 2006, p. 76.
18 In Salisbury (ed.), 2006,p. 45.
19 Burton, Tim, ‘Artist’s Statement’, in Magliozzi et al, p. 4.
20 Magliozzi, Ron, Drawing is Exercise for Restless Imagination’, in Magliozzi et al, p. 9.
21 Magliozzi, Ron, p. 14.
22 Magliozzi, Ron, p. 9.
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